Excellent link at the top of your comment.

Kinetic art and Technocracy:

Technocrats of the Imagination http://act.mit.edu/news/2020/03/04/technocrats-of-the-imagination/

Technocrats of the Imagination explores the collaborations between the American avant-garde art world and the military-industrial complex during the 1960s, in which artists worked with scientists and engineers in universities, private labs, and museums. For artists, designers, and educators working with the likes of Bell Labs, the RAND Corporation, and the Los Angeles County Museum of Art, experiments in art and technology presaged not only a new aesthetic but a new utopian social order based on collective experimentation.

The “Movement” Group. History of Russian Kinetic Art https://www.quartagallery. ru/articles-ru/gruppa-dvizhenie.-istoriya-russkogo-kinetizma/?sef_rewrite=1&sl=en

In September 1962 five young artists headed by 25-year-old Lev Nusberg founded the “Movement” group. The first participants were F. Infante, А. Krivchikov, V. Аkulinin, V. Scherbakov, R. Zanevskaya and М. Dorokhov. The movement was interpreted by the authors as change, relocation, mutual penetration, development, the state of everything that moves in both biological and esthetic sense. The important part of the project included the synthesis of various technical means and forms of art.

"Kinetists” strove to overcome the art of real esthetic objects and static structures. Constructionists of the 1920s understood movement not only as a mechanic phenomenon but also as a form of perception of time and space, movement as a universal notion. Thus Nusberg’s statement appeared supported by the whole group: «I want to work with electro-magnetic fields, with shining and pulsating concentrations in space, with various movements of gases and liquids, with mirrors and optical effects, with changes in temperature and smells… and, of course, with music». In his program of 1965 called «What is kinetic movement?» Nusberg defines kinetic synthesis: «…we demand to use all possibilities and means, both technical and physical, esthetic and chemical phenomena, all sorts of art, all processes and forms of perception, as well as psychic reactions and the influence of different senses of the man, as a means of artistic expression».

In 1968-1972 the “Movement” created colossal urbanistic projects of the future Cyber-state which involved the viewers. The sketch for the kinetic labyrinth 500 meters long was installed only by half. The rest depended on the activity of the viewers. They had to change the idea, complete it or change it depending on their individual or collective reactions to the impulses which were transmitted by different light-kinetic and electric machine